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Posts Tagged ‘Harrington’s Pie & Mash Shop’

Best New Play(s) – The James Plays

First up its plays, new ones, and when I counted I was surprised to find I’d seen 75 of them, including a pleasing half-dozen at the NT. My long list only brought that down to 31 so I had to be real hard to get to the Top Ten short-list of Versailles at the Donmar, Good People & Wonderland at Hampstead, Wet House at Soho, The Visitors at the Arcola (now at the Bush), 1927’s Golem at the Young Vic and 3 Winters & The James Plays from the National Theatre of Scotland at the NT – a three-play feast which pipped the others at the post.

Best Revival (Play) – shared by Accolade and My Night With Reg

I saw fewer revivals – a mere 44! – but 18 were there at the final cut. The Young Vic had a stonking year with Happy Days, A Streetcar Named Desire & A View From a Bridge, the latter two getting into my top ten with the Old Vic’s The Crucible, the Open Air’s All My Sons (that’s no less than 3 Millers) the NT’s Medea, Fathers & Sons at the Donmar, True West at the Tricycle and the Trafalgar Transformed Richard III. In the end I copped out, unable to choose between My Night with Reg at the Donmar and Accolade at the St James.

Best New Musical – Made in Dagenham

I was a bit taken aback at the total of 25 new musicals, 10 of which got through the first round, including the ill-fated I Can’t Sing, Superman in Walthamstow (coming soon to Leicester Square Theatre) , In the Heights at Southwark and London Theatre Workshop’s Apartment 40C. I struggled to get to one from the six remaining, which included the NT’s Here Lies Love and five I saw twice – Dirty Rotten Scoundrels, Dogfight at Southwark, Hampstead’s Kinkfest Sunny Afternoon and Dessa Rose at Trafalgar Studio Two – but eventually I settled on a great new British musical Made in Dagenham.

Best Revival (Musical) – Sweeney Todd in Harrington’s Pie Shop, Tooting

An extraordinary year for musical revivals with 38 to choose from and 22 serious contenders including 7 outside London (two of which I short-listed – Hairspray in Leicester and Gypsy in Chichester) and not one but two Sweeney Tood’s! Difficult not to choose Damn Yankees at the Landor, a lovely Love Story at the Union, more Goodall with the NYMT’s The Hired Man at St James Theatre, Blues in the Night at Hackney, Sweeney Todd at the ill-fated Twickenham Theatre and Assassins at the Menier, plus the Arcola’s Carousel which was so good I went twice in its short run. In the end though, expecting and accepting accusations of bias, I have to go for the other Sweeney Todd in Harrington”s Pie Shop here in Tooting – funnier & scarier, beautifully sung & played and in the perfect location, bringing Sondheim to Tooting – in person too!

Best Out of Town – National Theatre Wales’ Mametz

I have to recognise my out-of-town theatregoing, where great theatre happens too, and some things start out (or end up!). The best this year included a superb revival of a recent Broadway / West End show, Hairspray at Leicester Curve, and one on the way in from Chichester, Gypsy, which I will have to see again when it arrives……. but my winner was National Theatre of Wales’ extraordinary Mametz, taking us back to a World War I battle, in the woods near Usk, in this centenary year.

Best Site Specific Theatre – Symphony of a Missing Room (LIFT 2014)

Finally, a site specific theatre award – just because I love them and because it’s my list, so I can invent any categories I like! Two of the foregoing winners – Sweeney Todd and Mametz – fall into this category but are  now ineligible. The two other finalists were I Do, a wedding in the Hilton Docklands, and Symphony of a Missing Room, a blindfolded walk through the Royal Academy buildings as part of LIFT, which piped the other at the post.

With some multiple visits, 2014 saw around 200 visits to the theatre, which no other city in the world could offer. As my theatrical man of the year Stephen Sondheim put it in the musical revival of the year – There’s No Place Like London.

 

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My personal history with Sweeney Todd goes back 29 years to a production of Christopher Bond’s play (which Sondheim saw in its original Stratford East production and on which he based his musical) in the now defunct Half Moon Theatre in Stepney Green. For the last 21 years I’ve followed the musical around London and to Leeds and Chichester, including the NT, Opera North and the Royal Opera. For my 12th production / 15th performance, I only had a 20 minute walk to Harrington’s Pie & Mash shop (106 years old – London’s oldest) – well, actually the barbers across the road where we assembled for drinks beforehand. A doubly delicious bit of site specific theatre, but so much more than that. This is up there with the best of them.

With an audience of just 32 in the shop’s snug bench seating, this redefines intimate theatre. The whole space is used – on and behind the counter, the stairs and behind the stairs, the tables at which we’re seated. You have to twist and turn a bit, but the tale has never been more thrillingly told. Characters turn up to surprise and shock you, Sweeney’s stare chills you and Mrs Lovett gets laughs where they’ve never been before and bigger ones where they have. By necessity, some things usually staged are here offstage, but so inventively that it hardly matters (and no washing clothes when I got home, unlike the recent Twickenham experience).  Director Bill Buckhurst and designer Simon Kenny have turned every problem and restriction the space presents into dramatic opportunities and a masterclass in intimate staging. It’s scarier and funnier.

I think what blew me away most though was the sky high musical standards. MD Benjamin Cox on piano, with help from occasional violin and clarinet, played the score brilliantly (adding yet more weight to the current debate about awards for Musical Directors). In addition to his exceptional acting, Jeremy Secomb’s vocals were outstanding. Siobhan McCarthy is a terrific Mrs Lovett and I relished her expressions at close quarters and savoured every syllable of her show-stopping song A Little Priest. Nadim Naaman and Grace Chapman are wonderful as Anthony & Johanna, the former singing Johanna and the latter Green Finch & Linnet Bird beautifully. I’ve seen and enjoyed much of Ian Mowat’s work and his performance as Beadle Bamford is one of his best, and one of the best Beadle’s I’ve seen. Duncan Smith has great presence to go with a great voice; a fine Judge Turpin. Pirelli played by a woman must be a first and Kiara Jay, who doubles up as the beggar woman, is excellent. Joseph Taylor makes much more of Tobias, very moving in his Not While I’m Around duet with Mrs Lovett. I’ve run out of superlatives just as I’ve run out of cast, but they were all so good they have to be mentioned.

This would be a good Sweeney in a black box, but it becomes a great one in this space. I feel privileged to have been one of what must only be c.1000 people to see this landmark production. I wish Sondheim could as I’m convinced he’d adore it. A triumph for Tooting Arts Club, a nomadic institution like those other two national theatres in Scotland & Wales, and its producer Rachel Edwards and indeed for Tooting!

 

 

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